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Lee Ufan

(1936 ) Wikipedia® : Lee Ufan
UFAN Lee From Point 80067

Sotheby's /Oct 15, 2015
569,259.85 - 822,264.22
643,885.00

Find artworks, auction results, sale prices and pictures of Lee Ufan at auctions worldwide.
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Variants on Artist's name :

Lee U-Fan

 

Artworks in Arcadja
378

Some works of Lee Ufan

Extracted between 378 works in the catalog of Arcadja
Lee Ufan - From Brush (chuokoron 63/ 64)

Lee Ufan - From Brush (chuokoron 63/ 64)

Original 1982
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Lot number: 133
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Description:
Lee Ufan, FROM BRUSH (Chuokoron 63/ 64) a set of two screenprints in colours, 1982, on Hakou paper, each signed in pencil, each numbered 44/100 (there were also 10 A.P.), published by Maison Franco-Japonaise, Tokyo, printed by Clear Graphic, both with light staining, (1) with foxmarks on both sides, a minor crease in the lower right area, (2) with pale foxmarks in the margins, a minor crease in the lower left area, mat staining on the reverse, otherwise both in good condition, each framed Scr.28x32cm S.37.8x36.4cm Literature: Chuokoron 63/ 64
Lee Ufan - From Line, No. 740458

Lee Ufan - From Line, No. 740458

Original 1979
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Gross Price
Lot number: 189
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Description:
Lee Ufan B.1936 FROM LINE, NO. 740458 signed and dated 79'; signed and titled on the reverse mineral pigment suspended in glue on canvas 38 by 51 1/4 in. 96.5 by 130.2 cm. Read Condition Report Read Condition Report Register or Log-in to view condition report Saleroom Notice Provenance Private Collection, Asia (acquired directly from the artist) Acquired by the present owner from the above
Lee Ufan - From Point, No. 780163

Lee Ufan - From Point, No. 780163

Original 1978
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Lot number: 57
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Description:
Lee Ufan B. 1936 FROM POINT, NO. 780163 signed and dated 78; signed and titled on the reverse oil and mineral pigment on canvas 63 3/4 x 51 1/2 in. 161.9 x 130.8 cm. Read Condition Report Read Condition Report Register or Log-in to view condition report Saleroom Notice Provenance Private Collection, Asia (acquired directly from the artist) Acquired by the present owner from the above Catalogue Note Lee Ufan, the unsurpassed master of the aesthetic sublime is today synonymous with the elegant, assertive and transcendent monochrome (dansaekhwa) paintings of which From Point is an expertly resolved example. Precise daubs of ground natural mineral establish punctiform points of midnight blue which reverberate over the bare canvas like scattered traces of the artist’’s sub-conscious. Each initial point is elegantly poised at the beginning of a specific moment, a lived experience in Ufan’’s history that emanates from the creamy ground before cascading into pervading emptiness. These illustrious points, or evanescent moments embodied within cadenced ellipses, are repeated with potentially infinite recurrence across the blankness that consumes them. Indeed it is exactly this infinite emptiness, what the artist characterizes as yohaku, that underpins Ufan’’s potent minimal aesthetic. Yohaku goes beyond a mere negation of form or substance; it is more akin to the endless expanse of the sky, the immaterial lingering resonance of a drum, or the vast emptiness of space that contains the entirety of the universe. Yohaku transcends the picture plane, it reverberates with the walls and the space in which it is found, the effect expands outwards and establishes a triangular relationship, a particular resonance between viewer, artwork and space, and likewise between the natural, the physical and the infinite. It is here that the ‘art’’ is found: not beyond the painting’’s physical surface, but in the invisible essence of its encounter, the meditative reflection of its forms such that, conformant with Ufan’’ s philosophy, From Point “lead[s] people’’s eyes to emptiness and turn[s] their eyes to silence.” (the artist cited in Press Release, London, Lisson Gallery, Lee Ufan, 2015) The process of creating these works is integral to Ufan’’s aesthetic philosophy: everything except the necessary is omitted. Beginning by mixing ground natural minerals with nikawa, an adhesive medium conventionally used in traditional Japanese painting, Ufan aligns his cultural history with the infinite materiality of nature. The artist then places the canvas on the floor so that he can feel the physical weight of his body standing over it before slowly applying a brush impregnated with the mesmerizing blue mineral mixture to the surface of the canvas. Ufan repeats this gesture with a single paint load until the marks eventually dissipate into emptiness, timing each succession with the rhythm of his breathing so that the pulse of life vibrates through the arrangement of painted points. Comprising his raw materials and pervading his artistic methods, nature in its unlimited potential variance is therefore central to Ufan’’s praxis, being described by the artist as “the realm of infinity where one can continuously bring one’’s self back to nothingness.” (Lee Ufan, Selected Writings by Lee Ufan 1970-96, London 1996, p. 23) The effect of these converging aesthetic principles is profound. It is no surprise then that Dansaekhwa paintings like the present work have been celebrated on a global stage, finding their way into the most revered and illustrious collections worldwide. Further to the inclusion of his monochrome canvases in the collections of the Museum of Modern Art, New York; the Solomon R. Guggenheim Museum, New York; Centre Georges Pompidou, Paris; and Tate, London, Ufan’’s life’’s work has been surveyed in a major retrospective Marking Infinity, at the Guggenheim New York in 2011, and was immortalized further when the Lee Ufan Museum on Naoshima Island, Japan, was constructed in 2010. Fig. 1 Yayoi Kusama, Accumulation of Stamps, 63 , 1962 The Museum of Modern Art, New York, NY Digital Image © The Museum of Modern Art/Licensed by SCALA / Art Resource, NY © 2015 Yayoi Kusama Fig. 2 Cy Twombly, Untitled , 1971 Sold Sotheby’’’’s New York, May 2013 © 2015 Cy Twombly Foundation See More See Less
Lee Ufan - From Point 80067

Lee Ufan - From Point 80067

Original 1980
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Lot number: 5
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Description:
Lee Ufan B. 1936 FROM POINT 80067 signed and dated 80; signed, titled and dated 1980.9 on the reverse oil and mineral pigment on canvas 145.2 by 112cm.; 57 1/8 by 44in. Read Condition Report Read Condition Report Register or Log-in to view condition report Saleroom Notice Provenance Private Collection, Asia (acquired directly from the artist) Acquired directly from the above by the present owner Catalogue Note From Point 80067 is a sublime example of the most sought-after series created by the master of East-Asian contemporary art, Lee Ufan. Created in 1980 it sits at the very end of the succession of From Point works which mark the zenith of Ufan’’s celebrated artistic practice. Throughout his decade-long experiment with the From Point paintings he methodically refined his technique, which is attested to in the present work by the crisp edges of the brushstrokes and the assured, pulsating pattern not found in earlier examples from this series. This work elegantly brings together the interlaced elements of Ufan’’s complex philosophies in a polished and singular vision, recalling his childhood maxim that “the entirety of the universe begins and ends in one point” (Lee Ufan quoted in: Mika Yoshitake, ‘Chronology’’, in: Exhibition Catalogue, New York, Solomon R. Guggenheim Museum, Lee Ufan: Marking Infinity, 2011, p. 186). Ufan’’ s monochrome canvases are his most celebrated and widely exhibited works. Unusual for the sheer size of its spots, From Point 80067 is utterly singular within this extraordinary body of work. Being praised for their elegant simplicity in light of their intellectual weight, they are currently held in the collections of the Museum of Modern Art, New York; the Solomon R. Guggenheim Museum, New York; Centre Georges Pompidou, Paris; and Tate, London among others. Testemant to the significance of his oeuvre, Ufan was also the subject of a major retrospective titled Marking Infinity at the Solomon R. Guggenheim Museum, New York in 2011 and in 2010 the Ufan Museum was built on Naoshima Island in Japan. The artist makes minimal interventions into both his raw materials and artistic gestures so that the resultant works in the From Point series remain pure, refined and immediate. The intense blue colour in From Point 80067 is formed by mixing ground natural minerals with traditional Japanese Nikawa glue, connecting the work with ancient Japanese silk-painting, the bucolic splendour of nature, and concurrently recalling the infinite fading tones of the sky. In this way Lee Ufan aligns his painting with the transcendent, for as he states: “Nature is the realm of infinity where one can continuously bring one’’s self back to nothingness” (Lee Ufan, Selected Writings by Lee Ufan 1970-96, London 1996, p. 23). Nature in its unlimited variations therefore becomes a vessel for the infinite and Ufan develops this idea through sustained and considered repetition in his From Point series. After laying the canvas on the ground he begins to apply points of colour, continuing from left to right with a single paint-load on his brush until the marks dissipate and turn to emptiness. He applies each point without modification or correction according to his philosophy of ikkaisei, which is derived from a Japanese ink-painting tradition where the innumerable elements that constitute a single brushstroke can never be repeated. In doing so, each mark represents a physical manifestation of a specific ‘lived moment’’ in time meaning that no two will ever be quite the same. Expanding on this aphorism, the recurring gestures in From Point 80067 intimate the potential for infinite repetition – a notion which is further extrapolated in the present work by the inclusion of fading blue trails along the left side of the canvas which are attached to fictitious starting points in the ambient surrounding space of the work. To create these entrancing patterns, Ufan makes gradual additions to the blank canvas with his brush in meditative harmony with his hand and the paint. In accordance with his considered method, Ufan leaves vast empty areas on the canvas which are, to the artist, equally as significant as the painted points of blue they surround. This ‘emptiness’’, what is known as yohaku, goes beyond conventional conceptions of nothingness, being characterised by the artist as the lingering sound of a drum reverberating through air after it has been struck; likewise “as the brush makes one point, the area around it begins to move and energy-filled air floats low over it” (Lee Ufan, ‘Fragments I, No. 6’’, in: Lee Ufan: The Art of the Encounter, London 2008, p. 200). Ufan’’s From Point paintings aspire to transcendence through this evocation of emptiness by demanding engagement from the viewer who becomes an active agent in the ‘completion’’ of a work. In this way, the painted and unpainted areas interact to form a sort of poetry which is manifested in the encounter between the viewer, painting and ambient space – subsequently bringing about engagement with emptiness in the viewers mind. Fig. 1 Roman Opalka, 1965/1-∞, detail 143,362-185,085, 1961-65. Private Collection
Artwork: © ADAGP, Paris and DACS, London 2015 See More See Less
Lee Ufan - From Point No. 790265

Lee Ufan - From Point No. 790265

Original 1979
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Lot number: 721
Other WORKS AT AUCTION
Description:
Lee Ufan B. 1936 FROM POINT NO. 790265 signed in English and dated 79; signed and titled in English on the reverse, framed mineral pigment and glue on canvas 116.9 by 91.2 cm.; 46 by 36 in. Read Condition Report Read Condition Report Register or Log-in to view condition report Saleroom Notice Provenance Private Collection Mainichi Auction, Tokyo, 8 November, 2014, lot 223 Private Asian Collection
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